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A Trip Around the Main Picture and 

Through the Plateau 

of States 




Louisiana Purchase Exposition 

1904 



HOWARD OBKAR 
Contributor to Leading Magazines 

Copyright, 1904, and Published by 

THE CABLE COMPANY 

CHICAGO 






LIBRARY of CONGRESS 
Two Copies Received 
SEP 26 1904 
r OooyrMrt Entry 

CLASS Ct *Xo. Na 

COPY B 

m ' 



7 co 






Through the Plateau of States 




ITH glittering golden domes, tall and graceful 
spires, scarlet tiled tops, white and chastened 
exterior expanses in a wonderful panoramic 
succession, a glorious group of State structures 
crown the hills and overlook the dales of the 
Plateau of States on the grounds of the Louis- 
iana Purchase Exposition. To the west and 
south of the fan-shaped valley, in which 
the genius of architect, skilled artisan and 
builder has reared the magnificent exposition palaces and to the noble 
collection given the descriptive name of The Main Picture, are these 
monuments of the States. 

They do not invade the lower ground where the classical outlines of 
the ivory palaces are to be seen. They mount the tops of hills or cling 
in picturesque array to their sides. Through giant forest trees they peep 
at the wonders of the great Ivory City below. It was a bold conception 
which placed them there, where the earth was torn and rent by the swell 
of warring prehistoric seas. It was bolder still to decree that the land- 
scape artistry of God should not be disturbed, and that only the densest 
of sylvan thickets should be cleared away and that none might touch the 
towering trunks and masses of foliage which have withstood the assaults 
of many changing seasons. 

Never once avoiding, but rather carefully following, the undulations 
which Nature gave to earth, the buildings spread in broad and graceful 
sweep behind that wonderful structure known as the Colonnade of States 
from in front of which gush the seething, swirling, foam-flecked waters of 
the Cascades. Further to the northward, and close behind the allegorical 
sculpture which represents the States, they almost join the structures which 
the foreign powers have reared at the invitation of the Great Republic. 



Not once is the main central picture of the Exposition invaded. 
Separate, yet a part of the whole; distinct in architectural types, and 
yet with a general symmetry because of the purpose to which they are 
put and the guiding thought that prompted their building as the home 
of wayfarers from the different commonwealths, they form a composite 
whole. 

Come, then, for a swing through the Plateau of States and to where 
king and potentate have honored this nation by the pavilions and regal 
palaces they have builded. Days of earnest sightseeing will not familiarize 
you with the beauties, the historical significance and the architectural 
perfectness of them all; but, come. 



Come in by the States Buildings Entrance and there, almost before you 
realize that you are within the great Exposition enclosure, your eye is 
greeted by the first of the State structures. Erected by Utah, along 
modern lines of architecture, it gives the impression of being snug and cozy. 
Inside, the mission furniture, on the soft velvet carpet with its 
predominating colors of greens and reds, heightens the effect. The 
paintings increase the homelike restfulness of the place. There is the 
"Great Salt Lake," by Harwood, and beside the wide staircase another, 
Taggart's "Prayer," while "Lights and Shadows" on the landing of 
the ascending steps arrests the attention almost as quickly and 

effectively as does the 
Governor's flag which 
hangs from the bal- 
cony. On its purple 
background are the 
eagle with outspread 
wings, the beehive, the 
sago lily and draped 
flags. Supplementing 
the mission chairs and 
divans with their 
broad, inviting arms 
are others of reed and 
rattan. 



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Utah Building 



Page 

Six 



From the lower floor the ascent is easy to the balcony above. There, 
tastily decorated and conveniently arranged, are rest rooms for the women 
and a smoking room for the men. The hostess swings wide a low French 
window. Through it one can step to the railed veranda, where are easy 
chairs and a smoking table for men driven from the parlors or the four 
smaller rooms which open from the main reception hall of the first floor, 
or the others which find place at the four corners of the balcony floor. 

Within, it is easy to lean against the balcony rail and look to the 
floor below. From the balcony four great flags of the nation drop. One 
of them almost reaches the polished top of the Conover piano at one side 
of the main reception hall. Late in the season, wheeled close beside the 
long, low window opening on the south balcony, McClellan, the organist 
of the Mormon Tabernacle, caressed its keys, while on the lawn without 
the five hundred voices of the great Mormon choir rang with sweet 
melody across the Plateau. 



Nearby is Beauvoir reproduced, a replica of the last home of Jefferson 
Davis; almost a shrine for the Southerner. 

Within, relics of the Confederate idol are to be found. Beauvoir, 
within sight of Mexico's great Gulf, was bequeathed to Mr. Davis by 
Mrs. S. A. Dorsey just as it stood at her death. 

In this reproduction is the furniture of that period in priceless 
mahogany. Only a 
few of the pieces in 
the center of the col- 
onial hall, including 
the circular seat and 
those wide sofas, are 
true relics. None of 
the beds were ever 
used by him. Though 
his old chamber is 
faithfully reproduced, 
he was not in Beauvoir 
but at the home of a 
friend in New Orleans 



Page 
Seven 




when the Great Shadow fell. There are antique sideboards, punchbowls, 
and the quaintest of old china closets. Pictures in oil of Mr. Davis and 
Mrs. Davis find as a companion an engraving of Miss Winnie. 

Not the least interesting of these Southern household gods is the 
old pianoforte. It was made a century ago in Leipsic for Mr. Davis' 
mother. Its keys, which once felt the soft fingers of her who cradled 
him who in manhood led a forlorn hope, and of his wife and their 
daughter Miss Winnie, are now yellow with age. Those in the center 
octaves are darkest from use. The mahogany veneer has left gaping 
wounds where it has sloughed off. The faded curtain must have been 
replaced many times by careful hands to hide the mechanism of string 
and movement. No more striking contrast could be found than 
presented by the magnificent Kingsbury piano of modern make with its 
seven and a third octaves, and its slick and polished coat, beside this 
relic of the old Leipsic maker. 



Contrasts, too, are presented at the Indian Territory building in the 
immediate neighborhood. It contains a collection of crude implements 
and trophies of chase and war in the main entrance hall. As if to 
impress the progress made by the red men, in the photograph room are 
scenes in which fine buildings of the towns and comfortable homes of the 
educated wards of the government are shown. Purposely all things 

here show progress 
and development. 
Ascending the stair- 
way, at a broad land- 
ing, five colored glass 
windows, their designs 
showing further 
industrial and agricul- 
tural scenes, are 
passed. The second 
floor may well be said 
to belong to the 
increasing, progress- 
ing white man who 

Page 
Indian Territory Building El 8 ht 




impatiently waits for admission to the sisterhood of States. In the red 
parlor is a Conover piano, and a young woman with the olive complexion 
of one in whose veins runs the blood of the man of the forest, plays 
with skill and feeling. The territory commissioner nods approvingly 
and suggests "There's answer to the query of many of the East as 
to what the Indian Territory building wants of a piano." Then he turns 
to the assembly hall, with its waxed oak dancing surface, where stands 
a Conover grand, at which sits another whose straight hair and copper 
skin marks her as almost a full blood. 

In the red parlor striking reproductions in tapestry effect on long 
panels were noted, and in the reception hall are portraits in oil of five 
generations of the Jefferson family, all painted recently by Mrs. Narcissa 
Owen, a Cherokee lady, at the age of seventy-two. 

Here, too, is the Tecumseh flag, the property of Joseph McCoonse, 
whose grandfather was one of the six warriors who swore to take the 
life of Tecumseh, and who prizes it as the rarest of his possessions, and 
the trophy of Superneau McCoonse's deed in war. 



The smallest of the State buildings, a few steps distant, is that of 
Arizona, in the old Spanish mission style. Here, as the entrance is 
approached, are two Samua cacti three feet high. In their Arizona 
habitat they grow to a height of thirty or forty feet, landmarks for the 
treeless plains now so 
rapidly giving way to 
the irrigationist. To 
the resident of the far 
Southwest these seem 
but pigmies, but little 
Mary from the city 
exclaims : "Why, 
mother, them is smrely 
the biggest cucumbers 
I ever saw. And see, 
mother, they have 
gray whiskers all over 
them." 



Page 
Nine 



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Arizona Building 



To the left from the reception room is the ladies' parlor. It is 
finished in soft shades of dark green and red. A gentle breeze invades 
it from the high Spanish windows with their small panes. Cool and 
restful it seems after the glare of the macadam roads on a hot August 
afternoon. The furniture is of mahogany. Wide-armed rockered chairs, 
and a divan with soft cushions, all accord well with the color scheme, 
and make a most inviting place. Against the side wall is a Kingsbury 
piano which all who enter may use. 

On the opposite side is the gentlemen's parlor. At the end of the 
reception hall is a retiring room and two private rooms for the use of 
the building staff. 

The reception hall, though small, has been made an historical gallery 
for here is the anthropological collection of Mrs. Aguerra, a gentle lady 
of Tucson. The curios are not of the conventional Indian type, but of 
the interesting and strange cliff dwellers and those other inhabitants of 
the far Southwest about which our most learned savants know so little. 



Bounding one end of a plaza is the pretentious Iowa building in 
French Renaissance. Some have called it the " Academy of Music," for 
the musical inclination of former Governor Larabee has done much to 
bring it that reputation. There are twenty mechanical stuffed song- 
birds which so carefully simulate the notes of the feathered songsters of 

the field as to deceive 
the unwary. Here, too, 
is a great pipe organ, 
loaned for the Expo- 
sition period, and at 
its close to be made a 
gift to the Industrial 
School at Eldora by 
Governor Larabee. 
The organ is there on 
the broad stair land- 
ing. Beside it sits a 
Conover piano, tuned 
to accord. Governor 




Iowa Building 



Page 
Ten 



Larabee has given two such organs to institutions in his State. It is due to 
these facilities, joined to the two other Conovers, one of them a grand 
in the assembly hall, that there are so many concerts which crowd 
the building. 

Money and pains have not been spared. The cathedral glass dome, 
the heroic proportions of the central court or lobby, the tapestry wall 
decorations of the governor's room, the solid bronze statues to left and 
right of the main entrance, the comfortable library with its elaborate 
decorations, its great fireplaces and its bookcase filled with the works of 
more than three hundred Iowa authors, and its music cabinet containing 
only the sheets of Iowa composers; all show taste and the intent to make it 
distinctly monumental of the State. Here, on the second floor, in the 
room of the executive commissioners, is a splendid portrait in oil of 
Leslie M. Shaw, Secretary of the Treasury. There in the reception room 
is a bust by an Iowa sculptor of Governor Cummins, the State's chief 
executive. 



Mrs. Slater, of Newport, who was a Miss Gammell, of Providence, 
R. I., making the same trip we are, entered the Rhode Island building and 
exclaimed : "Why, what are you doing with my grandfather's staircase ?" 
Well she might, for this beautiful colonial structure is modeled after the 
old mansion. It has a reproduction of the ogee gable, of which there is 
but one known perfect 
type in the New 
England States. The 
balustrade is perfect 
in detail, even to the 
reproduction of the 
nine different kinds of 
railings which the 
hand-carver in the 
early part of the last 
century wrought. 

The mantels, the 
wide staircase, all 
counterparts of 

Page 

Elcven Rhode Island Building 




originals ; the lobby or state hall, a reproduction of the interior of the 
old Baptist meeting house in Providence; the front piazza of the old 
Dr. Clapp residence, and the entire exterior the famed Stephen H. Smith 
mansion. That crazy-quilt exterior effect of varied colors and odd-shaped 
stones is a faithful reproduction of the granite houses of the time. 

Of the touches of the modern are the great stained glass windows at 
the staircase landing, the design secured through competition in the 
Rhode Island School of Design, and just to the right of the broad stairs 
the Kingsbury piano, with its Imperial player, sends a flood of melody to 
every room. On the second floor, too, there is more of the modern in 
another Conover in the executive room, where are portraits of Governor 
Garvin and Senators Aldrich and Wetmore. Scarlet hangings give a 
richness which combines well with the massive mahogany. In the center 
is one of the handsomest oval mahogany tables to be found in the 
Plateau, and a davenport, upholstered in scarlet plush, which has soft 
and yielding springs. 



Following the sweep of Colonial avenue we come to the pretty 
bungalow of Nevada. It is just the right height to fit cozily beneath the 
shade of the forest trees, where the Plateau sinks away toward the 
Mining Gulch. The site was selected and the plans for the bungalow 
framed to accord. 

The broad door 
opens into the recep- 
tion room, where 
green burlap and the 
fashionable brown of 
the woodwork show a 
modern style of dec- 
oration. It appears 
like a little and cozy 
parlor such as one 
might imagine is used 
by the people of this 
comparatively new 
State. 




Nevada Buildi 



Page 
Twelve 



Back and to the left is the ladies' parlor, finished in scarlet, with 
Spanish windows letting in only softened light. It is here the Conover 
piano is located. On the walls are the Miss Lewers flower photographs, 
so widely copied, and with which the readers of every woman's magazine 
are familiar. The wonderful camera work is a source of pride to the 
Nevada visitor, for many marvel when told each is a portrait of a flower 
native to the State. 

To the right are the offices. There are relics galore of Hank Monk, 
the most famous whip who ever drew rein over a four-in-hand coach 
team. A framed cartoon, famous forty years ago, is here, and across it 
hangs the whip lash Hank used when he took Horace Greeley across the 
divide. It shows Mr. Greeley in Hank's coach, and in the background the 
outlines of the White House. The words meant to be prophetic. "Keep 
your seat, Mr. Greeley, and we'll get you there on time," followed by 
the further line, "Coming events cast their shadows before," did not 
prove true auguries. 



Back toward the center of the Plateau is the Minnesota building. 
The northern clubhouse of the Great Lakes was borne in mind in its 
designing, and yet the Byzantine columns which support the roof might 
have come from some age-old temple. 

Enter here, for the low uncovered porch dips down toward the sloping 
ground and invites 
you. It is a building 
without walls or doors. 
Between the Byzan- 
tine columns are a 
succession of windows. 
In the hot days of the 
summer they swing 
out and welcome the 
fresh air. 

The first great 
room you enter passes 
across the building. 
There the furniture, 



Page 
Thirteen 




Minnesota Building 



with its pinned joints and burnt leather and copper trimmings, was 
made by Manual Training School children of Minneapolis. From the 
same school came the famous "McKinley Table" used at the national 
conventions of the Republican party. On it the gavels of presiding 
officers at conventions which twice nominated William McKinley and 
once Theodore Roosevelt for the Presidency, rapped for order. 

Stained glass transoms, in which the names of the eighty-four 
counties of the State are worked out, top each window. 

Back of the great reception rooms are rooms for men and women 
respectively. Each has modern furnishings of a great clubhouse such 
as this is intended to be, and each has one of the splendid Conover pianos 
which we seem to meet everywhere. 

In the center is the entrance to one of the most unique dining-rooms 
of the Plateau. It is a dining-room without a kitchen, intended for 
visitors from the State who bring their luncheons with them. There are 
comfortable chairs and clean topped tables, and a hearty welcome for the 
wayfarer. 



" Ense petit placidam sub libertate quietem," is the motto in small 
letters across the front of the Massachusetts building, and though the 
translation — "By the sword she seeks repose settled under liberty" — is 
not found there, many questions would have been stilled during the Fair 

if it were. Rich in 
historic lore, it was 
natural for the State 
Commission to plan 
the reproduction of an 
historic interior. 

The first floor 
entering from the 
broad uncovered 
porch, presents an 
exact reproduction of 
the Senate Chamber in 
the old State House in 
Boston. The side 




Massachusetts Buildin 



Page 
Fourteen 



rooms too, used as ladies' and gentlemen's reception, writing and lounging 
rooms, are in proportions the same as similar rooms in the old building. 

In that side room to the left is a reproduction of the painting by 
Sandham, " Dawn of Liberty," a picture of the Battle of Lexington. It 
hangs directly over the Mason & Hamlin piano. 

On the upper floor is the " Historical Room." This is a reproduction 
of the new Senate Chamber in the State House. Its cases contain price- 
less relics of our forbears. There is a massive pair of earrings, buried 
during the Revolution to keep them out of the hands of the British. Here, 
too, is a piece of embroidery done by Rose Standish while coming over on 
the Mayflower, and there is the pipe which Miles Standish smoked in 
1620. There are many other relics of Revolutionary days, and of those 
who fought at Bunker Hill. Was it strange that the hostess turned away 
with a flushed face and an angry eye when a countryman from the newer 
West drawled out : " Say, Missus, ain't you got that there Plymouth 
Rock hid hereabouts?" 



The State of Wisconsin determined on an innovation. It worked it 
out in a picturesque building after the English domestic style. Its 
red tiled roof and plastered outer walls; its wide galleries; its 
general homelike and inviting appearance marks it distinctly from 
the regulation Exposition pavilion. 

In interior decora- 
tion there has been 
an effort to make the 
place much sought. 
The main room opens 
up through the second 
floor to the roof, and 
about it, at the level 
of the second floor, 
passes a balcony from 
which entry is secured 
to eleven private 
chambers. A staircase 
ascends from below 



Page 

Fifteen 




Wisconsin Building 



and divides to right and left to reach the balcony. Just to the right 
sits a Conover grand piano. 

To a level with the top of the doors and windows the main reception 
room has wainscoting stained a rich brown. Above this to the stairways 
and first floor ceiling passes a wide tapestry frieze in which the dense 
forests of the North are depicted. From the balcony hangs an array of 
fine rugs, and others cover in part the polished floor. Here is a great 
Persian, from the balcony to the left a Cashmere, and over there where 
you ascend the stairs is a Kiskelum. At a most conspicuous place is a 
portrait of Governor LaFollette. 

But listen, what is this the Commissioner of the State is saying to 
one of his visitors who has sighed for "good old Wisconsin water" and 
denounced the sort that we have here in St. Louis : "My dear sir! The 
joke is on you. Not a drop of water has been placed in a cooler in this 
building since we first occupied it that has not been brought at great 
pains and expense in large glass bottles from the native springs of our 
native State." 



Fronting a plaza at the junction of three avenues is the Kansas 
building. Through any one of three entrances the visitor is welcomed to 
the reception hall, which occupies all the central portion of the building, 
and, with a surrounding gallery, lifts its ceiling to the vaulted roof. 

From this living room 
for visiting Kansans 
open a succession of 
reception and smoking 
rooms and private 
offices. 

To the rear are 
three large airy rooms. 
Tip-toe now through 
the suite, for this is 
the only creche main- 
tained by a State. 
Little tots occupy the 
comfortable cots, while 




Kansas Building- 



Page 
Sixteen 



their mothers, confident that they will be well cared for, go about 
their sightseeing untrammelled. A broad porch opens from the playroom 
and the older children have the use of this in pleasant weather. The 
building's main entrance faces the plaza. At night a flood of light 
would deluge us the moment the portal was passed, for, up in the 
supporting arches, seven score incandescent globes dot the paneling. 
There, too, in the arched windows of cathedral glass, is the coat-of-arms 
of the State. Beneath your feet in the floor mosaic at this entrance 
is the great sunflower of the State. The same flower decorates the 
great frames about the pictures there. Passing about the balcony we see 
the walls covered with oils, water colors and crayons of Kansas artists. 
Looking to the court-like hall below, we see the broad top of a Conover 
grand piano. All the Plateau of States colony came to hear the youthful 
twin prodigies from the blind school at Kansas City, Kansas, a few days 
ago, one of whom performed on the instrument while the other played 
the violin. 



From the broad balcony inside the Oklahoma building hangs a banner 
of purple satin, on which are the words " Oklahoma is but fifteen years 
old/' Then, as if having blushed over her youth, she proceeds to show 
that in spite of immaturity she has much to commend her. The structure 
is a pleasing combination of the Spanish and Moorish. The Moorish balcony 
is screened to make a 
resting place when the 
shades of evening fall. 

Portraits of her six 
governors are shown 
to the right and left of 
the main entrance. 
From the lobby an 
archway opens into 
the ladies' parlor with 
a Conover piano, 
just above which 
is the picture of 
Elizabeth Keller, who, 



Page 

Seventeen 




Oklahoma Building 



a recent competition decided, is one of one hundred of the prettiest 
children in the United States. It is the only building which has numerous 
child's chairs. Perhaps, too, it has the only "circulating" baby buggy. 
Other commissions thought of circulating libraries, but it remained for 
this territory to furnish a baby buggy that might be borrowed and 
trundled over the grounds without cost to the mother. 

In the gentlemen's room is a great table whose top, twelve feet long, 
is a single native slab. The table and half a dozen chairs, in arts and 
crafts style, were made by the students of the Stillwater Agricultural 
and Mechanical College. Here, in a great pot, is a native cotton plant 
now in blossom. There is a picture of Dave Payne, the original 
Oklahoma "boomer," who drove the entering wedge for white settlement 
and just as the last of his famed litigation found successful issue, 
dropped dead in the lobby of a Kansas hotel. 



An old lumberman entered the Michigan building with the sense of 
proprietorship that many visitors to their State buildings affect. He 
strode over to the old-fashioned fireplace, looked long and earnestly at 
the ash-laden, but brightly burning logs, and remarked: "Mandy, that is 
the steadiest burnm* pine knot I ever see," and followed this up with a kick 
from the toe of his boot which struck dull and hard against the gas log. 
Yet he came to the Grecian structure for which men of his call- 
ing did most to give 
it one of the finest 
interiors in the Plat- 
eau. The lumbermen 
of the North furnished 
the material, and the 
varnish and stain 
makers of the State 
added their share. 
Above the old fire- 
places on narrow 
shelves is a rare 
display of art pottery. 
It is a loan collection 




Michigan Building 



Page 
Eighteen 



from a rich woman of Detroit who took up the decorative work as a 
pastime. At one corner is a bust of a Michigan violinist by a Michigan 
sculptor. Near it opens the ladies' parlor, where there is a new system 
Conover upright piano with its famed steel frame supporting its working 
parts. 

Though intended to be but temporary, 16,000 feet of maple flooring 
entered the building's construction. The furniture is of most up-to-date 
design, for be it known, Michigan possesses manufacturers who admit no 
peers. The art gallery of the house is valued at $20,000 and its study 
is greatly facilitated by a catalogue. No more pleasing spot has been 
devised than the broad stair landing with its score of rattan easy chairs 
beneath the high narrow French windows, through which the breeze is 
gently wafted. 



Down the road which leads toward the Government building the old 
Constitution House is reproduced, just as at Windsor, and this is the 
State building of Vermont. Because of its very weatherboard exterior 
plainness, it arrests immediate attention. 

October 8, 1777, the document was signed, within the old inn, which 
gave it a place in history. Recently in a speech, President Roosevelt 
said that here the first constitution which prohibited slavery in the 
United States was adopted. He might have gone further and said that 
it was the first to 
recognize the abolition 
spirit in the world. 

The original has 
been put to many uses 
and is now a ware- 
house. The State Asso- 
ciation reproducing 
it has as one of its 
objects the preser- 
vation and restoration 
of the original. 

The caretaker of 
the reproduction is 



Page 

Nineteen 




Vermont Building 



E. G. Flanders, whose ancestor, but one generation removed, was the first 
man in this country to free a slave and one of but two Americans to whose 
memory a tablet has been placed in the famed Westminster Abbey. The 
rear portion is a large restaurant, and has long been torn away from 
the original. In the front structure this room to the right, with its 
center table more than one hundred and fifty years old, its antique 
closet of mahogany with dark blue and aged chinaware, and its old spin- 
ning wheel, is true to the period of the Constitution House. 

Across the hall is another of modern embellishment. There the dark 
green stained woodwork and fashionable burlap mark it as of the present 
period. Here, too, is placed another of those Conover new system upright 
pianos which lend themselves so well to architectural embellishment. 



Close at hand is the Washington building. It is of most unique 
design, a perfect octagon rising from the first floor, with a width of 
eighty feet, to the " Lovers' Roost " six stories above, and but twenty 
feet across. Eight great timbers, each one hundred and ten feet long 
without a splice, are sunk in the earth at the lowest angles of the 

building, and high at the apex are 
bound together. Each of the six 
floors is in shape a perfect octagon, 
ever decreasing in size as you 
ascend. 

Here on the first floor raw 
material is displayed. Forestry, 
agriculture, fish, game and mines 
are represented. Over at one 
angle of the first floor octagon are 
the offices. They are inside a 
cross-section of a great fir tree 
which has a diameter of nineteen 
feet. Hollowed out, it has room for 
desks and file cases and five people 
to sit in comfort. The broad stair- 
case, with its plain and massive 
railing, is of native marble. 

Page 
Twenty 

Washington Building 




A floor above is the art gallery, one of the largest collections of 
pictures in a State building. The Commission has placed a Conover 
piano over there beneath those pictures of snow-capped mountains and 
excellent marine scenes. Six times you walk around the inner angles of 
the octagon in ascending to the sixth floor, which is really a landingplace 
for the twenty-foot balcony. The balcony has long taken the place of 
the Sunken Gardens of the Exposition as a trysting place for lovers, and 
the State Commission welcomes all who wish to coo and woo at the eerie 
height in " Lovers' Roost." 



"Why, here they say is a reproduction of the birthplace of Daniel 
Webster in New Hampshire, when everyone knows he was from 
Massachusetts, and represented that State in the United States Senate," 
said a really intelligent school teacher who visited the New Hampshire 
building, over whose entrance is a sign announcing its character. She 
was no more misinformed than many other people who come to visit it, 
for in the popular mind Daniel Webster and the State of Massachusetts 
are closely linked. 

The little school teacher was not half so far wrong as the countryman 
who, with a sniff of contempt, drawled: "Wall, now, they ain't got 
none of Webster's working tools with which he wrote the dictionary." 

The building is quaint and striking in appearance with its high 
pitched roof and 
absence of eaves, 
small paned, old-fash- 
ioned windows and 
weatherboarded sides, 
just like the original 
at Franklin, New 
Hampshire. In every 
room is a wealth of 
old-fashioned daven- 
ports, massive polished 
top mahogany tables 
and sideboards. 
There to the left is a 



Page 
Twenty-one 







modern lecture room with a stereopticon where the advantages of New 
Hampshire are set forth daily. In that room is a Conover grand piano 
to furnish the musical numbers. 

At the further side of the house is a parlor. In it are some of the 
richest of the antiques. The things most remarked are the warming 
pans with which our forefathers warmed the sheets before retiring. In 
this room, with its antique sideboards, china closets, straight-backed 
last- century armchairs, expensive hundred-year-old grandfather's clock, 
is another Conover piano of the upright style. 

On a transverse avenue is the New Mexico building in Spanish 
Renaissance, a type of architecture common in the far Southwest. At 
the entrances are great urns decorated with queer drawings by Cochite 
or Zuni Indians. 

Inside is the reception room. Here, as in all rooms, the decorations 
are largely Indian curios. A mound is formed of these old monastery 
bells, one of which is five hundred and forty years old, and each bears 
an inscription. The famed "Filigree Table" owned by the Ladies' Board 
of Trade of Santa Fe is under a glass case. It is very delicate, and cost 
more than $3,000, so it is kept secure from prying fingers. The top, in 
filigree gold and silver, is the shape of a Maltese cross. In the precious 
metals are pictures of a Mission Church, Fort Marcy, and the old Spanish 

Governor's house in 
which Lew Wallace 
wrote Ben Hur. They 
still have a Ben Hur 
room there which 
tourists visit. The 
coat-of-arms of the 
territory, in the cen- 
ter, is surrounded by 
garnets. 

The room to the 
right is called the 
"Governor's Room," 
and in it are portraits 




New Mexico Building 



Page 
Twenty-two 



of Governor Otero and Mrs. Otero. That shield with the Filipino 
arms in miniature, was loaned by the Governor's wife. It is in the 
Governor's room that the Kingsbury piano was placed. The furniture 
there is of rine old mahogany, and the upholstering in Spanish leather. 
About the moulding, above the doors and windows, are paintings from 
monasteries five centuries old. Those Navajo blankets in the reception 
room are very rare and expensive, as is that squaw cloth over the 
entrance to the offices. 



We must leave the Plateau of States proper now, and pass through the 
Mining Gulch to the South Dakota building. Its wonderful main room, 
with its corn and small grain decorations, marks it as different from the 
other interiors. 

There, the walls running through the second story to the vaulted 
ceiling, are covered with grains of wonderful designs and amazing color- 
ings. The materials are corn, oats, wheat, rye, maize and flax. It seems 
marvelous the way hard colors are produced, and then, by changing grains, 
toned down into a perfect and pleasing design. In a succession of 
panels are the names of the prod- 
ucts of the State, and also its 
counties. There are heads of cattle, 
perfect in contour and shading, 
made from grain. 

At one end of the room, above 
the long narrow Spanish windows, 
is the State motto in grains, "Under 
God the People Rule." That raised 
dais at the side was put there by 
Sioux Falls and in the arch behind 
it are scenes from the town. 

To the left of the main entrance, 
and of modern and pleasing interior 
decorative work, is the receiving 
parlor, with the portrait of the 
Governor of the State. There is a 
Conover piano in this room. To the 



Page 
Twenty-three 




South Dakota Buildin 



rear, and through the Corn Room, is the ladies' rest room, furnished 
plainly and inexpensively in light greens. 

The striking feature there is the great painting by a South Dakota 
artist of "The White Devil's Charge." There is an interesting Indian 
legend told of this picture. Its heroic proportions show a mad horse, 
pure white in color, facing a score of armed and mounted Indians bent 
on its death. 



Close by, in hexagon shape, is the building of the Disciples of Christ. 
It is really a hexagon within a larger hexagon, the space between them 
being utilized for five rooms. 

Alexander Campbell was the founder of this Church, and this is a 
reproduction of his library. In the original, the outer hexagon was but 
the width of a set of book shelves. Dr. Campbell used to sit in the 
center and when he wanted a book on the shelves he had but to give his 
library chair, mounted on rollers, a hard push, and he could reach up and 
get it. 

Each of the five rooms is assigned to a society. Over here, in the 
Church Extension Society room, is a new system Conover piano. The 
other rooms are occupied by the Foreign Missionary Society, American 
Mission Board, Christian Women's Board of Missions, and the Benevolent 
Association. In them may be found photographic and memento 

collections of foreign 
missionaries, portraits 
of well-known workers 
in foreign fields, the 
same of liberal con- 
t r i b u t o r s to the 
Church movement, 
structures erected, 
maps showing the 
fields worked, interior 
and exterior views 
of institutions 
supported by the 
denomination. 




Disciples of Christ Building 



Page 

T went> -tour 



At one side of the outer doorway, in geld letters on a background of 
white, appear the words : " That they may all be one. That the world 
may believe that Thou didst send Me. One body, one spirit, one hope, 
one Lord, one faith, one baptism, one God, one Father of All." On the 
other side, in a corresponding position, is this inscription : "The disciples 
were called Christians first at Antioch. For other foundation can no 
man lay than that which is laid, which is Jesus Christ." 



Next door, this striking building which looks like a great rambling 
log house, was built by the State of Oregon, and this is the sign on its 
front: "This structure is a replica of Old Fort Clatsop, the winter 
quarters, 1805-6, of Captains Lewis and Clark with their company after 
they had, in the greatest of American explorations, crossed the continent 
to the Pacific." The evergreens and rhododendrons in front were 
brought from near- the snow line of the Oregon mountains. 

The outer rough bark walls are cf logs split lengthwise. The other 
halves of them are out there in the hundred-foot square stockade. At 
the corners of this stockade, looking down on the sharpened points of 
the great logs set on end, are two small block houses. 

In the main room the rough finish of the original is preserved. The 
floor is of rough boards, and the draperies of Indian blankets. A great 
fireplace, eight feet across, will take a yule log which two horses can 
hardly drag. The furni- 
ture is of bent hickory 
with the bark still on. 
The one modern touch 
is the Conover piano. 

The interior finish 
is in beautiful native 
woods — fir, pine, larch, 
spruce and cedar. A 
stairway gives access 
to a cozy little roof 
garden, which in the 
original was perhaps 
a vantage point from 

Page 

Twent, 




which a sentinel scanned the horizon looking for hostiles. The smaller 
rooms are used for offices, reception and rest rooms. In one is a relief 
map, showing the route taken by Lewis and Clark, the great Mormon 
trail, and the immigrant trail through the American desert. 



If we had crossed the road here on June 24 we would have seen but 

charred ruins of a spacious House of Hoo Hoos. Up in the branches of 

a tree then was a sign, which read : 

"Eight more lives have we — 

In thirty days our new home you will see." 

And this proved true. 

The present structure, built in twenty-one days, houses the one 
survivor of the three black cats of so much significance to the Hoo 
Hoos. Phoenix, they call it now, is immortalized by having its black 
outlines silhouetted in the dado of the richly decorated auditorium 
There young folks dance on selected evenings. This smaller room 
opening from it contains a Conover grand piano for use with the dance 
orchestra. The high wainscoting panels are of twenty-three different 
selected woods. Every room is marvelous in the beauty of the wood 
finish, selected and donated by the lumbermen who own the building. 

To the right of the main entrance is the ladies' parlor, the woodwork 
of California redwood, the wall paneling of old rose burlap, and the 

rattan furniture tinted 
to the same color. Here, 
too, is another new 
system Conover, which 
takes the place of one 
of these pianos de- 
stroyed by fire in the 
old building. 

A remarkable and 
costly table is made 
of a single highly 
polished redwood burl. 
The supporting center 
is a wonderfully 




House of Hoo Hoo 



Page 
Twenty-six 



carved California cub bear, hugging a dwarfed redwood tree whose thick 
foliage spreads out to grasp another burl of redwood, so highly polished 
and solid in appearanoe as to make one believe it must be beautifully 
prepared marble. 

A minute's walk behind the Colonnade of States, striking in the 
originality and boldness of architectural conception, is the five-pointed 
star building of Texas. From point to point it is two hundred and seventy- 
five feet. Pinning the points together is a great dome, one of the most 
striking on the grounds. Inside, at the center beneath the dome, is a 
hexagon-shaped assembly room where we may stand and, slowly turning 
about, look into the triangular shaped rooms inside each of the points. 

One of the handsomest small decorated rooms is the parlor with its 
delicate light green colorings, its hand-painted draperies and curtains 
of shimmering silk. The Woman's Clubs of Texas have this point next 
to it, with ivory woodwork and mission furniture. Here a Conover 
upright is placed, and also busts of great and famed Texans in bronze. 

The other points contain the offices, furnished in curly pine ; the art 
and sculpture room, with a great statue of the Rev. Dr. Rufus Burleson, 
founder of a large Texas university, and of King Ludwig III of Bavaria, 
by Elizabeth Xey ; the historical room with portraits of men and women 
famed in the Texas revolution, century-old bells from the Spanish missions, 
arms and swords of the 
revolution period, 
rough-hewn crosses 
and holy pictures 
taken from ancient 
monasteries. Each of 
the star points con- 
tains two stories, the 
upper ones being 
used for private 
apartments. 

In the entrance to 
the ladies' parlor is a 
statue — "The 



Page 

Twenty-seven 




Texas Building 



Galveston Flood." It shows a mother clasping to her breast the form of 
her dead baby, while another child clings to her. Done in the purest of 
white marble, it could hardly be more striking. 



We now take our way back of the Colonnade of States. If Thomas 
Jefferson were only with us, we would take him to his old home, 
Monticello. The replica was erected by Virginia. The bright red of the 
bricks is simulated, and contrasts with the white woodwork. Jefferson 
had in mind the Grand Triannon seen by him in France when he planned 
the house. France has reproduced that building at the Exposition, and 
the similarity of the facades can be noted. 

In the state dining-room of the reproduction is the only French 
furniture. In the balance of the house the furnishings are pure colonial. 
The grand salon is entered first, with its high-pitched ceiling and its 
gallery, giving the only access from one side of the house to the other 
of the second floor rooms. Acoustic properties were in Jefferson's mind 
when he planned that room, for he was a musician of tender susceptibil- 
ities. At one side is a new system Conover grand piano. It would be 
interesting to know how Mr. Jefferson would view this latest departure 
in piano manufacture, with its ornate front and frame of metal, carrying 
the strings with perfect tone. To the right is a colonial parlor, in which 
there is not an article less than one hundred and fifty years old,. save an 

upright Conover piano, 
surmounted by an old- 
time mantel mirror in 
solid mahogany, and it 
is surprising to note 
how well the plain and 
handsome case lends 
itself to the colonial 
interior. An Imperial 
Player is attached to 
this piano. Back from 
the entrance is the 
University of Virginia 
room. In the original 




Virginia Building 



Page 

Twenty-eight 



Monticello it was the state dining-room. There are oils of General J. 
B. Stuart and General Robert E. Lee, and the Gait statue. 



Across the road is the low bungalow of Idaho. It is picturesque in 
the extreme. The narrow windows appear inaccessible, for their sills are 
six feet from the earth. In an arched opening swings an iron gate eight 
feet across. The roof shows bright red Spanish tiles and the walls are 
cream-colored staff. 

As the gate swings in you pass to the patio, or inner court, a rare 
beauty spot. Two great poplars at opposing corners rise twenty feet 
above the closely cropped grass, and clambering vines cover their naked 
trunks. Semitropical plants make a central mass of bright color. 

A gallery surrounds the court, and at intervals about it are easy 
chairs of reed and rattan. The rooms open from it. They are finished 
in the latest color schemes. Great window seats in the gentlemen's and 
ladies' parlors are fifteen feet long. Indian bows, arrows, tomahawks, 
belts and baskets, as well as some magnificent blankets, add color and 
uniqueness. The doors are of single wood slabs and across them pass 
wide iron openwork hinges which contrast strongly with the woodwork. 
Each of the rooms has individuality, but the ladies' parlor may be taken 
as a fine type. 

The walls are in sage brush yellow, the woodwork in sage green, the 
floor of dark sage 
green, and the furni- 
ture of a darker shade 
of the same color. At 
one end is a finely 
finished Conover piano, 
while opposite it, 
between the high 
Spanish windows, is an 
artistic mantel with 
side cabinets. 
Contrast this with the 
dining-room, which 
has a white enamel 



Page 
Twenty-nine 




Idaho Building 



wainscoting six feet high, light blue walls and ceiling, and mahogany- 
furniture. 



Back from Idaho is a replica of the "Sutherland," the home of 
General John B. Gordon, famed Confederate soldier. Built by popular 
subscription, it is of that peculiar type which even architects now call 
" Georgia Colonial," a synonym for a homelike exterior. The only 
changes in the reproduction are the omission of the rear staircase and mod- 
ification of the rear elevation, because of the lack of domestic apartments. 
A broad central hall is used as a general reception room and office, 
where guests may register. The side walls are of Georgia yellow pine. 
Every bit of material in the building came from Georgia. It is the boast 
of the Commission that even the iron beds, in the private apartments, 
were mined, refined and framed inside the State, and this demand for 
native material is carried to the extent even of using Georgia soap. 

This is the ladies' reception room, to the left. Over that new system 
Conover piano, with an Imperial Player, is a portrait of Samuel Hammond, 
who was a member of Congress when the Louisiana territory was pur- 
chased, and who was appointed by President Jefferson the first Governor of 
the District of St. Louis. Another portrait in the same room is of James 
Edward Oglethorpe, the Colonial Governor, who brought John and Charles 
Wesley, the founders of Methodism, to this country. Because of 

them, Georgia claims 
to have had the first 
Sunday school ever 
established in the 
United States. Another 
interesting portrait is 
that of General Gordon 
himself in the gentle- 
men's reception room. 
Below it and across a 
corner is another Con- 
over piano. All 
decorations are of 
the simplest sort, the 

Page 
Georgia Building Thirt y 




desire being to make it cozy rather than pretentious. Georgia literature, 
Georgia pictures, and Georgia papers are distributed with generous hand. 



Those interested, claim the Temple of Fraternity is the most widely 
known structure on the grounds. Fifty-six fraternal and beneficiary 
societies have headquarters there. Their membership totals 8,500,000, 
and granting that each member interests three others, the claim is made 
that the fame of the Temple has reached 25,000,000 people. 

The exterior is a reproduction and modification of the Parthenon. 
The arbors, taking the place of the covers for the porches, with their 
masses of dark green vines and brightly colored flowering plants against 
the white of the pillars and walls, make a beautiful exterior. The 
woodwork is weathered oak, and the furniture of the Mission style. 

The Cable Company, which manufactures numerous styles of pianos, has 
three uprights, two grands and two new system Conover pianos located 
in the rooms assigned to the Eastern Star, Royal League, Grand Army of 
the Republic and "Women's Relief Corps, Red Men, and Rathbone Sisters, 
also the Assembly Hall on the third floor, and the main parlor on the 
second floor, directly over the entrance. The decorations of these rooms 
follow the individual tastes of those in charge. Society emblems predom- 
inate. In the Eastern Star Room the green emblem of the society is 
worked out in a magnificent rug which covers one wall of the room. 
The Red Men have por- 
traits of their officers 
since 1843. In the 
headquarters of the 
Grand Army of the 
Republic and Relief 
Corps the national 
colors predominate. 
The Rathbone Sisters 
have pictures of their 
national officers amid 
the delicate draperies 
of the side entrances. 
Great banners of the 



Page 
Thirty-one 




Temple of Fraternity 



society are the striking feature of the Royal League Room. The rafters 
in the assembly halls are almost hidden by a mass of Exposition flags, 
the national colors and hundreds of society emblems with their gay and 
contrasting colors. 



Illinois has the second largest building here. It is in French Renais- 
sance. The Louis XIV decorations predominate inside. There is a 
profusion of gold leaf on the great dome interior, and the garlands at a 
level with the balcony floor. In the exact center, after you have passed 
between heroic statues of Lincoln and Douglas to enter, is the great seal 
of the State in mosaic in the floor. 

The colors in the State Hall are Pompeiian red, ivory and gold. 
Opposing the entrance, a wall gives way to permit a raised stage, back 
of which is a great cathedral glass window. The crystals and colored 
panes soften the rays of the Western sun, and throw a mass of multi- 
colored light on the Conover grand piano and the perfect collection of 
Abraham Lincoln relics loaned by the State. The hangings at these 
windows are of scarlet, with the State coat- of -arms worked out in gold. 
The color scheme of the first floor invades the ladies' reception room, 
where portraits of Governor and Mrs. Yates are the only pictures in the 
building, except the Lincoln collection. There, too, is a Conover piano of 
the new type. On the floor above the cathedral glass windows are discov- 
ered in a transom effect 
under the low ceilings. 
There easy chairs have 
been placed, and 
another Conover piano. 
Near the private apart- 
ments is the Governor's 
reception room, where 
the walls and wood- 
work are shades of 
green and tan, and rich 
Persian rugs cover 
the floor. The drap- 
eries are marveled 



\ . 




\ 






i 








A X. ^^^^^^^^^ 


wia YV---5L 




M 


1 '■ nz£^£Tff 

■ 1 T T h* 







Illinois Building 



Page 

Thirty-two 



at by visitors. In the ladies' parlor they are vert moire damask; 
gentlemen's parlor, illuminated leather tan velour ; offices, heraldic illum- 
inated leather on krinkled tapestry; Governor's reception room, Nile 
silk stripe under embroidered panels. 



Descend now from the Plateau and pass to the group of foreign 
buildings. Here, between those of France and Great Britain in the 
Spanish Renaissance, is the Mexican pavilion with its tall tower, a fitting 
and dignified monument to the Southern republic. 

The windows of the lower floor are of colored glass, while those of 
the second story are of colored photographic negatives which show 
palaces, cathedrals, monuments, parks and other beauty spots of the 
country. 

True to Mexican custom, the entrance opens to a patio with a colored 
tile floor. About this is a cloistered gallery. A profusion of palms and 
potted plants is everywhere. Against the further wall is a picture of 
President Diaz, Mexico's chief executive, who for so long has held the 
destiny of the country with firm hand and wise head. The picture is in 
colored glass, and so arranged that an incandescent globe behind it can 
bring out the colors. At the opposite side of the patio is a Gonover 
grand piano, its polished top showing above the mass of potted plants 
and dwarfed palms which surround it. At the union of the arches, and 
just above the grace- 
ful supporting col- 
umns, are shields upon 
which in succession 
appear the words, 
" Equality," " Peace," 
"Fraternity," "Prog- 
ress," "Science," and 
" Justice." Glancing to 
the floor above, given 
over to offices and pri- 
vate apartments for 
the Commissioners, we 
see graceful statuary 



Page 
Thirty-three 




L.ofC. 




Ladies' Parlor, Illinois Building 




Main Reception Hall, Illinois Building 




Grand Salon in Brazil Building 



r ' 


** 







Assembly Hall, Iowa Building 



and beautiful pictures, and more of the green of potted plants. Outside, as 
we pass beside the building, is a carefully cultivated garden of Mexican 
flowers and plants, in which waves a banana tree, and where there are 
hundreds of kinds of cacti. 



Near Mexico, Nicaragua has a pavilion which she chose should be 
in the gala dress of a typical Exposition structure, and yet lose nothing 
of its distinctive Spanish-American characteristics. The exterior is 
touched with reds and blues in ornamentation of the drab walls. The 
inner court, typical of the clime of the country, is not overlooked, nor at 
the entrance the low pediment beneath which is an arch carrying the 
coat-of-arms of the country and its name. 

The first floor has a display of the country's products. On shelves 
and in cases are showings of the mines, agriculture and horticulture. In 
the center is a display of silk robes. In one corner forestry is shown, 
and in another a most interesting collection of stuffed birds of gay 
plumage and unknown form to the North. 

The balcony floor is in part devoted to further exhibits, but here, too, 
are comforts for visitors. At one end is wonderfully carved and massive 
furniture consisting of bed chamber furnishings and intricately wrought 
cabinets, a table made of a thousand different grades and shades of 
native woods. There are models dressed in uniforms of Nicaraguan 

soldiers, an art and 
needlework display, 
and a large case con- 
taining curiously 
shaped star and scal- 
loped edged hats and 
the soft panamas of 
the South. With high 
Spanish windows look- 
ing out across the 
gardens of the French 
Grand Triannon is the 
ladies' parlor. In its 
center is a modern 



Page 

Thirty-six 




Nicaragua Building 



new system Conover piano, and taking half the space of one wall, a 
painting life-size of President Joaquin Zelaya. The other walls are almost 
covered with pictures of beautiful Nicaraguan scenes of walks, drives, 
public buildings and ports. 



Most ambitious and most imposing of the foreign structures is the 
Brazilian pavilion, next door neighbor of Nicaragua. At the center rises 
a dome one hundred and thirty-five feet above the high second floor. 
Two low, oval, flanking domes, twenty feet above the roof line, add to 
the effect of massiveness and grandeur. Thirty-six Corinthian columns 
flank each of the main entrances, and nine more form the semi-circular 
supports of the loggias at each end. 

Inside, the second floor gallery is supported by thirty-two Doric 
columns in soft tones, contrasting pleasingly with the pure white of 
walls and ceilings of the single state apartment. Broad staircases of 
polished hard wood from the banks of the Amazon rise to the gallery 
floor. 

Here are the parlors, the retiring rooms, and the private offices, 
furnished with almost regal splendor of rich plush and satin hangings and 
upholstery. In the center of the great receiving room is an octagonal 
settee, from the center of which rises a graceful nude figure — "Feast" — 
poised on tip toe and holding outstretched, to pledge the health of the 
approaching guest, a 
champagne glass. The 
statue came from a 
Florence gallery and 
is of exquisite white 
marble. In this room 
is a new system Con- 
over piano, used by 
skilled performers on IK 
state occasions. A 
gallery passes inside | 
the inner dome, from 
which a view can be 
secured of the brilliant 



Page 
Thirty-seven 




Brazil Building 



social scenes in the great hall below. Another gallery passes around 
outside the dome, from which a view can be secured of the most 
distant part of the grounds. It is just below the ground Florentine 
glass windows in the dome, not far from those four groups of allegorical 
sculpture. 



Though young, the Republic of Cuba has not permitted herself to 
be outdone by other Southern countries. Near Brazil she has a low 
Spanish building typical of a high-class Havana dwelling. A twenty- 
foot porch passes around three sides of it, where one may promenade or 
sit and watch the passing show. On the low flat roof is a roof garden. 
The inner court has been covered over with canvas so that an 
octagonal room is formed for pleasant days. 

In that court are the statues of four Cuban heroes, Marti and Maceo, 
who fought in the 1898 war, and Cespedes and Aggamonte, who were 
in the ten years' struggle for independence. In the center of the court 
is an octagonal stand on which are massed tropical flowers and plants. 

There are three great rooms opening on the court. One is occupied 
by offices and the others are for the guests of the country. This one 
opposite the main entrance is the parlor for ladies. It is finished in 
delicate mauve and browns, and a frieze of storks and odd swamp 
scenes passes around the upper walls. A sign in plainly printed English 

letters reading, "Please 
play but please do not 
drum," has been placed 
by the Commissioners 
above the new system 
piano. The furniture 
here is of modish 
design and capable of 
being richly uphol- 
stered, but instead the 
seats and backs of the 
chairs are of finely 
woven cane. All furni- 
ture is made from 




Cuba Building 



Page 

Thirty-eight 



native woods. This in the ladies' room is of majuga, light and dark 
green, streaked through a rich brown which, though the natural grain, 
looks as if it might have been streaked in stain by an artistic hand. 



Fronting International avenue, near the Administration building, is 
the Italian pavilion and garden, a most poetical and artistic conception. 
A Roman villa is here reproduced, and the old artistic Roman spirit seems 
to have spent its best powers. The garden is filled with low artistic 
marble seats and Roman statuary. Entrance is gained through a 
peristyle of Ionic columns, supporting great boxes of flowering plants. 
It is bounded by a massive wall. At intervals in the Colonnade are pylons 
which carry fountains and urns. To right and left of the main entrance, 
reached after the ascent of steps forty-five feet across and high enough 
to give a lofty impression, are standards crowned with bronzed "Victories." 
Sculpture, rare flowers, artistic conception and careful execution of detail, 
make this a wonder spot in the Exposition grounds. Girding the 
building are tablets bearing bas-reliefs which represent all time and 
history, the march of progress, the accomplishments in arts and sciences, 
and the power of men. Almost all of the interior has been thrown into 
one grand salon lighted by stained glass windows. The salon is used for 
concerts and social functions. A Conover grand piano is used for this 
concert work. Most interesting of the furnishings are the reproductions of 
articles taken from the 
ruins of Pompeii and 
Herculaneum. There 
is an old brazier on 
which the ancients 
roasted oxen whole. A 
mild mannered woman 
from rural Missouri 
suggests that it resem- 
bles the present-day 
iron bed. But here are 
reproductions which 
the student thinks it a 
treat to study. 



Page 

Thirty-nine 




Back of the Italian villa, around the curve of Administration Hill, we 
see what appears to be a most unusual and awe-inspiring forest. Great 
branchless trunks rise to a height of forty or fifty feet. Each is 
surmounted by a grotesque figure which, at a distance, looks strangely like 
a dwarf or gnome with folded legs, clinging to the pole tops. Here 
another is surmounted by a gable, and all have strange carvings and odd, 
inartistic, bright and positive colorings. They are the totem poles of 
Alaskan Indians, and they stand in front of the pavilion the Government 
has builded to show the resources of the territory. Each is of yellow 
cedar, and the strange designs are symbols of different tribes, while the 
odd hieroglyphics tell of the deeds of their dead chiefs. 

The building itself is devoted more to showing the natural resources 
of the country and the progress of the white population than to an 
Indian anthropological study. The interior finish and the broad staircase 
are of Alaska woods, highly polished. In the reception hall and ladies' 
room above are two Conover pianos, one a grand and the other an 
upright. 

The first floor is given over to the mineral, agricultural and 
horticultural possibilities of the territory. There is a relief map, 
showing the exact contour of the country and its topography. On the 
upper floor is an art gallery, in which the wild and beautiful mountain 
scenery is shown. Here also is the needlework of the Alaskan 

Women's Exposition 
Auxiliary. The ladies' 
room, the Commis- 
sioner's room, the great 
lobby and the reading 
room, tastefully 
though plainly finished, 
take up the rest of the 
floor. 

We have passed 
through the Plateau 
of States, swung 
around behind the 




ka Building 



Page 
Forty 



Colonnade of States and down into the lower plain where the foreign 
buildings are placed. Not once have we invaded the Exposition's main 
picture, nor have we entered one of the big Exposition palaces, and yet 
it does seem we have found much that is interesting and not without 
instruction. There is one great structure, the largest on the grounds, 
so large it is almost like a New England farm with a roof over it. 
There it stands, apart from the main picture, and a whole Exposition in 
itself. It is the Palace of Agriculture. In it are a succession of booths 
and displays which show the resources of the agricultural sections of the 
United States 

Let us enter, far back toward the heart of the great structure, and 
see North Dakota's agricultural display, typical of what a great 
agricultural State can show. 

Here it is. Instead of conventional grain decorations, the State has 
two booths of plate glass, the columns and frieze of the structures being 
utilized for the display of its grain resources. The result is rich in the 
extreme. The frieze is filled with different colored corn, graduating 
from deep red at the base to white at the top, and looks just like 
marble. The columns contain samples of flax, wheat, oats, barley and 
rye. The bases are made of Tennessee marble, and the columns 
ornamented with nickel trimming and connected by nickel rails 

In the headquarters booth, almost in the center of the building, is a 
structure of several 
rooms magnificently 
furnished as reception 
rooms and offices. Con- 
spicuous in the furnish- 
ings of the reception 
room is a handsome 
mahogany Conover 
piano of latest design. 
Facilities for letter- 
writing are here 
afforded visitors; elec- 
tric fans keep us cool, 
and the luxurious 



Page 

Foity-one 



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Agricultura 



armchairs give rest and ease. In the adjoining booth stands the old log 
cabin built and occupied by Theodore Roosevelt in the early 80's when 
he was a cattle owner in the western part of North Dakota. This is 
one of the attractions of the Fair, and is daily visited by thousands 
anxious to see the cabin and relics of the President's cowboy days. 
The cabin is surrounded by handsome cases of grains and grasses and 
mounted game like that which furnished sport to the future President. 

Yes. This is a good place to rest after the strenuous trip. We 
have passed through noble and ornate structures and in each have seen 
evidences of good cheer and hospitality. Whether they be showy and 
elaborate or simple and elegant interiors, they reflect the best thought 
of each commonwealth. They illustrate the beauty, thought and utility 
of art and manufacture, of science and economics. Each is a monument 
to its state or government. Each epitomizes the progress, development 
and march of civilization. Their cumulative impression upon an observer 
must correctly represent the degree of enlightenment to which our great 
Republic has attained. Different sections incline to different pursuits 
and emphasize different arts and sciences, yet the composite whole is 
harmonious. One element of culture and refinement is universally 
acknowledged — music — as the presence of pianos in all of these buildings 
evidences. This is a significant fact and worthy of the consideration of 
all who come seeking to learn the lessons of a great Universal 
Exposition. 



Page 
Forty-two 




New System Conover Grand Piano 



In the Virginia Building 



Full information about the manufacture, sale and extensive use of these pianos can be secured 

by addressing the Manufacturers 

THE CABLE COMPANY, Chicago, Illinois 




Kingsbury 
Piano 

Style K 

Selected for use in 

the following Buildings 

Mississippi 

Rhode Island 

Arizona 

New Mexico 



Conover Piano 



Style M 

Selected for use in 

the following Buildings 

Indian Territory 

Utah 

Oklahoma 

Iowa 

Virginia 

Nevada 

Illinois 

Idaho 

North Dakota 

(Agricultural Building 
Temple of Fraternity (2) 
Alaska 
■Washington 
New Hampshire 
Georgia 
Texas 



Full information about the manufacture, 
sale and extensive use of these pianos can 
be secured bv addressing the Manufacturers 
THE CABLE COM PA NY, Chicago, Illinois 




Conover Grand Piano 



Selected for use in the 

following Buildings 

Kansas 

■Wisconsin 

Illinois 

Mexico 

Temple of Fraternity (2' 

Alaska 

New Hampshire 

House of Hoo Hoo 

Iowa 

Italy 

Indian Territory 





Conover Piano 

Style W 

Selected for use in the 

following Buildings 

Iowa 

Rhode Island 

South Dakota 

Oregon 

Temple of Fraternity 

Minnesota 



Imperial Piano Playei 



Used with pianos in 
Rhode Island 
Virginia and 
Georgia 
Buildings 



Full information about the manufacture, sale and extensive use o 
pianos can be secured bv addressing the Manufacturers 
THE CABLE COMPANY, Chicago, Illinois 




New System Conover Upright Piano 

Style R. Selected for use in the 
following Buildings 

Minnesota Cuba 

Virginia Vermont 

Illinois Michigan 

Brazil Nicaragua 

Temple of Fraternity (2) House of Hoo Hoo 

Georgia Disciples of Christ 



Full information about the manufacture, sale and extensive use of these pianos can be secured 

by addressing the Manufacturers 

THE CABLE COMPANY, Chicago, Illinois 



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